“Grand Tour” by Miguel Gomes, irritating settlers – Libération

“Grand Tour” by Miguel Gomes, irritating settlers – Libération
“Grand Tour” by Miguel Gomes, irritating settlers – Libération

Critical

Article reserved for subscribers

In the footsteps of an abandoned woman tracking down her promised civil servant across Asia at the start of the 20th century, the Portuguese filmmaker’s hybrid epic is a sad failure.

It was predicted that Grand Tour walks us and dazzles us. Our prerogative as a Cannes spectator who has reached two-thirds of the way through an official competition that is destabilizing by alternating between no big things and blows in the gut, and as a spectator in love with the cinema of Miguel Gomes – a flash thought for the incredible beauties of Taboo or the proliferating odyssey of the triptych the thousand and One Nights was enough to bring back enthusiasm and impatience as the screening approached. But Grand Tour denies us both, a change of scenery and wonder. The fault of its constrained conception, perhaps, since the initial project of a film shot in parallel on the road between Burma, China, Vietnam, Japan, Singapore and the Philippines and in the studio in Lisbon and Rome, was was interrupted for two years by the pandemic; on screen, the imagined hybrid (“kind of found footage of the present which will serve us to establish links with what is happening in the past, in 1918, in an imaginary Asia recreated in the studio”) never finds its form or its coherence, the missed junction between the 16 mm travelogue, in the present, and historical fiction in costume like a scar that does not heal

-

-

NEXT Valady. Jean Couet-Guichot and Gaya Wisniewski, two artists in residence within the region